Alien Series Special Editions

 I have owned the Alien Quadrilogy/Ripley saga on multiple formats (VHS, DVD, Blu-ray) for decades and have never been motivated to pop in Alien 3. It was probably the disappointment of having watched it during the original theatrical run that soured me on a rewatch. The release of the Assembly Cut on HBO/Max combined with the knowledge of what an incredible Director Fincher became, led me to give this berated film another try. Coming in at thirty minutes longer than the studio butchered theatrical version, the Assembly Cut gives the characters more time to develop and the set designs to shine. The bleakness of penal colony planet has given way to a striking world clearly inspired by the German Expressionism of Fritz Lang’s Metropolis and even David Lynch’s DUNE. Some great decisions were made in this version, including showing Ripley’s sacrificial fall omitting the chest buster.  Whereas the cast is a Who’s Who of British acting royalty, the standout characters are Charles S. Dutton and obviously the incredible Sigourney Weaver during the peak of her career. 

Alien 3 benefits from the contrast effect of lesser films later in the series with the exception of Alien: Covenant and Alien: Romulus. Alien Resurrection and AVP are pure 90’s cheese which stray far from the signature bleakness and hopelessness of the first three films. The Assembly Cut isn’t perfect with some pacing problems and mismatched score cues, but provides a degree of redemption for a much maligned entry in the Alien universe.

For Alien Resurrection I caught the extended cut on HBO Max, and honestly, I don’t remember enough about the theatrical version to say if it’s an improvement. Critical consensus says no. This one is a guilty pleasure. Sure the swimming CGI alien is wonky, but Ripley as a kick-butt Alien Terminator? Yes, please!

TRON Ares Review

 “Ready? Because there’s no going back.” 

That quote by Jeff Bridges’ Flynn avatar may be sadly prophetic based on the box office performance of Disney’s latest entry in the TRON saga. With a relatively weak opening, TRON Ares may be the last visit to The Grid, at least in theaters. This hits harder because all of the films in the trilogy are better seen on the big screen. In order to get the best experience, I sprung for an IMAX Laser 3D ticket like I did for TRON:Legacy back in 2010. This decision is based on the fact that TRON films have historically been effects and score driven spectacles with story as an afterthought. This is what one should expect going in. 

While the original 1982 lightly explored a quasi-religious relationship between programs and their users, and the 2010 film touched on loss and betrayal, TRON Ares digs a little deeper into heavy philosophical issues. Tackling heavy topics like mortality, morality, and unchecked AI, director Joachim Rønning takes some big swings attempting to bring relevance and immediacy to the TRON universe. The challenge is balancing high concept and the spectacle which another Jared Leto film, Blade Runner 2049, attempted to a more successful degree than this film. TRON Ares is definitely darker and grittier than the previous two films with the Nine Inch Nails score driving the point home and is the first TRON film to feature the death of a human character. 

Ultimately TRON Ares is a fun, visually striking film that brings the electronic world into our own, which was alluded to in the previous film, now fully realized. No big jumps in technology in the last fifteen years, unlike the twenty-nine year gap from TRON to TRON:Legacy, resulting in a smoother transition to this latest release. Then there is the music. Of all popular film series, the TRON films have had the most varied yet consistently excellent scores, including by the Oscar winning team of Trent Reznor and Atticus Ross performing as industrial powerhouse Nine Inch Nails. 

More than a series of action sequences (although there are plenty and they are exciting) and a cool soundtrack, TRON Ares is a valiant effort to bring some gravitas and deeper meaning to a film series better known for flash and spectacle and we are better for it. As a TRON fanatic since 1982, I am clearly biased and thankful for one more trip to The Grid, and that old school Lightcycle, are you kidding me?! 

PSA: stay for the mid-credit scene. If you don’t get it, ask a member of the TRON faithful. 

Dr. Syn, Alias The Scarecrow

 I watched the 1963 three part miniseries The Scarecrow of Romney Marsh as it aired on Walt Disney’s World of Color TV program. Although it was later released as a compressed feature length film, I was able to track down a clear copy of the original airing with introductions by Uncle Walt himself. The Scarecrow is the smuggling, Robin Hood-like alter ego of Vicar Dr. Syn played by the incredible Patrick McGoohan. Syn was a real life British hero to the poor under King George’s rule around the time of the American Revolution. The miniseries never drags on and kept me engaged the entire run. It’s unfortunate that the story didn’t continue, even though the original author Russel Thorndyke wrote more adventures for the rouge and his band of smugglers.

Escape to Witch Mountain 50th Anniversary Review

 After not seeing this Disney classic after 40 years during its repeated runs on HBO, I decided the 50th anniversary would be a good time to dust off the DVD. Top notch performances by legends Eddie Albert, Ray Miland, and Donald Pleasance and breakout performances by Kim Richards (my 70’s crush) and future “son of Kahn” Ike Eisenmann add to the fun. What makes this film stand out from typical Disney films of the time is a palpable and unsettling sense of dread throughout the story. As with all Disney films, there is a happy ending, but getting there takes going through some very dark themes including abandonment, manipulation, and betrayal. The effects department did what they could with the technology of the period which adds to the charm, especially the scene with the marionettes dancing on their own. This film is notable for Legend of  Hell House director John Hough relying on his horror chops and not shying away from some darker, more adult themes. 

Alien:Romulus Review

 Alien:Romulus puts aside any concerns of Disneyfication by giving us a real nail biter that doesn’t shy away from gore. Director Fede Álvarez’s film combines some brilliantly realized practical and CGI Xenomorphs with inventive action sequences. In spite of some throwaway characters, I found myself truly invested in the heroine Rain and her synthetic “brother” Andy. There is an interesting spin on the Aliens’ rapid growth cycle and creative use of zero gravity. The film is weakest when throwing in some obvious callbacks including an extremely misguided attempt at raising Cain (wink wink.) I’d put Alien:Romulus above any film after James Cameron’s 1986 Aliens.

Poor Things Review

 Of all the things I could’ve watched on family friendly Disney+, Yorgos Lanthimo’s Poor Things is the one I chose and I’m so glad I did! The film is a brilliant surreal period piece with a plot somewhere between Mary Shelley’s Frankenstein and Alex Martin’s Ex Machina. Emma Stone’s Oscar winning portrayal of the reanimated Bella and Willem Dafoe’s disfigured doctor are standouts. The blend of CG and practical settings with a fantastical story make for an engaging and funny viewing experience. Definitely not for viewing with the kids as we follow Bella’s infantile brain learning how to navigate her womanhood and sexuality. All elements combine for a complete film and masterpiece of modern cinema.

The review of the movie of the Kingdom of the Planet of the Apes.

 

2011’s  Rise of the Planet of the Apes kicked off one of the most consistently high quality (and underrated) movie franchises in recent history. In the age of multiverses and franchise building, The Planet of the Apes has bucked the trend of diminishing returns, until now. The latest installment by Disney owned Fox Studios is set after many generations separated from the Caesar saga. This film serves as a kind of soft reboot, especially when it tackles the outcome of the virus that now leaves the human survivors mute and cognitively impaired. The story is a predictable hero’s journey narrative, and the motion capture technology and visuals haven’t advanced much from the groundbreaking 2011 film. There is a little humor mixed in provided by Peter Jerrod Macon whose voice fans of The Orville series will recognize as Lt. Commander Bortus. His portrayal of the wise Caesar historian Orangutan is engaging and heartfelt. The film, while entertaining, is the weakest of the series.